I Have A King Who Does Not Speak: Kimberly Brooks’ Solo Exhibition, Roosevelt Library, San Antonio, TX

ROOSEVELT LIBRARY
311 Roosevelt Avenue
San Antonio, TX 78210

Presents
A Solo Painting Exhibition

K I M B E R L Y    B R O O K S
“I Have a King Who Does Not Speak”

Nov 20, 2014 – Jan 14, 2015

Artist Reception:
Nov 20, Thurs 6:00- 8:00 PM

FOR IMMEDIATE RELEASE

San Antonio, TX — The Roosevelt Library and Alice Carrington Foultz are pleased to present “I Have a King Who Does Not Speak”, a solo exhibition of by Los Angeles-based artist Kimberly Brooks. The exhibit will run from Nov 20, 2014 – Jan 14, 2015. The Gallery will host a reception for the artist on Thursday, Nov 20 from 6:00 – 8:00 PM.

In Brooks’ latest paintings series the viewer encounters a miasmic world of visual pleasures, from opulent clothing and architecture to hazy landscapes and portraits, all seen through her seductively decadent yet playfully loose brushwork. In keeping with her previous exhibition “I Notice People Disappear,” underlying this evocative imagery one encounters the psychology of desire, loss, and the uncanny.

In “I Have a King Who Does Not Speak” Brooks conjures and resurrects scenes and passages from a foreign place and time. Borrowing ancient imagery used to document presentations of wealth, historical events, Brooks twists images to appear at once familiar and strange. The viewer finds him or herself in an alternate universe. Scenes seems to come from a fever dream, as rooms careen out of control and ghostlike figures disintegrate into the backgrounds. Abstraction runs throughout the works, bending spaces, interrupting scenes with non sequitur brush marks, and transforming emblems of power into smaller paintings, as seen in “Family Tree” and “The Memory of Banquet”. As each painting teeters between abstraction and representation, going in and out of lucidity, Brooks’ work touches on her own understanding of how painters see and process the visual remnants of history. She uses this model as a keyhole to an alternate reality altogether. The challenge of this particular exhibition comes in part from confronting orientalism and the imagery of empire with the added filter and gaze of the contemporary artist. By warping familiar historical imagery in this manner, Brooks employs the remaining vessel as a means of accessing a subliminal past and in doing so opens a door to a world of her own creation.

Kimberly Brooks work has been showcased in numerous juried exhibitions including curators from Whitney Museum of American Art, Museum of Modern Art, California Institute of the Arts and Los Angeles County Museum of Art. Brooks received her B.A. from UC Berkeley and Studied Painting at UCLA and OTIS. Born in New York, Brooks lives in Los Angeles and maintains her studio in Venice, CA. Curator Alice Carrington Foultz has been advising clients through her art advisory for over thirty years and stages exhibitions throughout the country.

Image: “Portrait of Forgotten Ancestor” 32 x 40 in. Oil on Linen 2013 Kimberly Brooks

# # #

SAN ANTONIO EXPRESS: Brooks allows viewers to fill in details in her opulent paintings

san-antonio-express

Nov 28, 2014

 

In Kimberly Brooks’ recent paintings, filmy, oppulently dressed figures from another age float in silk-draped salons and leafy estate landscapes.

Like a cinder caught in the mind’s eye, their facelessness fires our imagination — much as we internally draw characters while reading dusty novels, filling in our own details.

“I love the unfinished,” said the fortysomething Los Angeles painter, whose exhibition “I Have a King Who Does Not Speak” continues through Jan. 14 at Roosevelt Library, 311 Roosevelt Ave., on the city’s South Side. “It’s always the areas of a canvas that are least finished that I’m most attracted to. I have to resist the urge to complete.”

Ancestor

Brooks, a graduated as an English Major at UC Berkeley, calls on literature, history, theater, portraiture and abstraction to create her cryptic visual narratives (see “The Myth of What Happened by the Tree and the River”), which tweak memories that remain just out of reach, like thoughts on the tip of the tongue.

Paintings such as “Parlour Room” are sumptuous and mysterious. Sunlight sweeps into a dark-paneled room from large windows, creating dancing patterns on the floor, yet leaving a standing figure — a woman in a long scarlet-colored dress — in shadow. And who is the kneeling figure in the foreground?

“I wanted to capture the feel of mahogany and velvet and iron,” Brooks said.

Paint runs and loose brushstrokes are evident in “I Was There and It Was Devine,” a scene of ghostly women in a ballroom. Brooks conjures a melancholy sense of a wonderful evening winding down — and all these women are going home alone.

“I wanted to capture the mood of silk in that painting,” Brooks said.

She explains her work as “resuscitating the memory of some great moment and holding it still.”

gallery

The title of the exhibition refers to those voices from art history that speak to contemporary artists — whether they want to hear them or not. Painters as varied as Courbet and Dali echo in Brooks’ work.

“As each painting teeters between abstraction and representation, Brooks’ work touches on her own understanding of how painters see and process the visual remnants of history,” said exhibition curator Alice Carrington Foultz. “It’s like taking something old and bringing it back to life. And I just love the way she applies paint. A dress can be a few brushstrokes. It’s almost transparent, but the colors are so rich. That’s hard to do. And of course I love the way she is able to leave spaces for the viewer to fill in.”

Florida artist and curator Bruce Helander, who recently organized a Brooks show at Arthouse 429 in West Palm Beach, said Brooks creates “guilty pictorial pleasures.”

In an essay on Brooks’ art, Helander wrote that she “lays down an eccentrically handsome collection of quasi-surrealist strokes inducing the sensation of reliving a vintage portrait snapped from another time, like a recollection of sitting next to a dapper dinner guest at a black-tie event and wondering about his ancestry.”

The centerpiece of “King Who Does Not Speak” is undoubtedly “Unknown Ancestor,” a portrait of a vaguely Victorian woman in a white dress reclining in an outdoor setting rendered in wild brushstrokes that evoke an emotional physicality over what is a calm setting. Two small strokes evoke eye sockets, and that’s all we get of the face.

“When we read, we create pictures in our minds,” Brooks said. “And usually your mind will be pregnant with scenes from someone else’s memory. I want to acknowledge my own imagination while creating images that allow viewers to fall into them and create memories from their own imaginations. It’s the lack of clarity in the work that moves me.”